Downhill is a disaster movie in more than one sense of the word.
“Tragedy,” Mel Brooks said, “is if I cut my finger. Comedy is if I walk in an open sewer and die.” In other words, whether something is funny or painful can be a matter of perspective. In adapting Ruben Östlund’s Swedish black comedyfor an American audience, directors Nat Faxon and Jim Rash haven’t just translated the dialogue but shifted the focus, and in doing so they’ve changed it from a movie that is painfully funny to one that’s just painful.
The avalanche cracks open the rift in Billie and Pete’s marriage, especially since he can’t even bring himself to admit what happened. Since confronting her husband is like punching gelatin, Billie marches the family down to the resort’s public safety office to register a protest. But the burly Viking who takes their complaint insists the terrifying experience was handled “perfectly,” and that Americans need to get over their instinct to threaten a lawsuit every time they bruise their shins.
The remake shifts the focus, and in doing so it transforms a movie that is painfully funny into one that’s just
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